Rent
Leicester Curve (studio space)
5th June 2024
Jonathan Larson’s ‘Rent’ rocked the 90s theatre landscape with its bold and gripping exploration of the AIDS crisis, and cemented itself as one of the most influential pieces of musical theatre. Following cult oddity ‘Superbia’ and the semi-autobiographical ‘Tick Tick Boom’, Larson exploded onto Broadway with his tale of bohemian dreamers hoping for better days while living under the looming shadow of disease. The show broke new ground, created a community for outsiders, and made stars of Taye Diggs, Anthony Rapp, and future-Elphaba and Elsa Idina Menzel. But Larson would never learn of its success, sadly dying of an aortic aneurysm the day before the show’s first off-Broadway preview, forever tinging the show with a note of heart -breaking tragedy.
But the power of ‘Rent’ lives on, remaining a beloved cult classic to this day, so it’s great choice for the Leicester Amateur Operatic Society (LAOS) to take on as their production for this year. They were all set to perform it back in 2020, but ironically, another virus stopped their plans, and we’re pleased to now be able to see the results of their hard work. ‘Rent’ marks their 149th production in a rich history that dates back to 1890.
It’s a New York Christmas Eve in the mid 90s, and floundering filmmaker Mark (Ed Turner) and former rock singer Roger (Tom Urch) are struggling to make ends meet or even keep warm during a blackout, and are now being asked to pay the rent owed for the previous year to their former-roommate Benny (Richie Philips) after he changes the terms of their existing agreement. The night brings other surprises, as outside, their friend Collins (Dan Rowberry) is mugged, and helped by flirtatious drag queen Angel (Dan Brewer), while neighbour Mimi (Charlotte Kennedy) knocks on Roger’s door and the two have an instant attraction. The show follows the lives of these characters over the next year, exploring their relationships, bohemian ideals and health crises as the AIDS epidemic grows ever stronger, and they learn to measure their lives in love and the importance of living in the moment.
Larson was posthumously decorated with Tony Awards, Drama Desk Awards, and the Pulitzer for ‘Rent’, and while it may be arguably light on plot (despite its lengthy runtime), the strength of its characters, emotional gravitas and musical brilliance make it an incredible and important watch. The rock score is instantly catchy, though equally has its moments of quiet beauty and gospel reverence that really deliver the story’s emotional beats.
For an amateur group to take ‘Rent’ on is no small feat, as although a “rough around the edges” style absolutely suits the tone of the bohemian story, the storytelling and vocal delivery required is immense. LAOS need to be very proud of themselves here as they’ve really focused on that and it shows. Directed by John Bale, the production is very stripped-back and told with simple staging, allowing the focus to rightly be on the characters. It does feel a little long, but that’s the material rather than the way it’s delivered, which is competent and heartfelt. The production is hampered by sound issues which is a shame, and does make the show harder to follow for anyone not familiar with it. Being a rock opera, most of the show is sung-through, and the narrative is told through the lyrics, so patchy sound does impact how effectively this is delivered to the audience. It’s a real shame, as what can be heard sounds great, but anyone new to the musical may miss some of what’s going on. However, the band of five, led by musical director Steven Duguid, do sound great, and bring real life and energy to Larson’s work.
The nature of ‘Rent’ means any production lives or dies on its lead performances, as they’re the lifeblood of the piece. LAOS fortunately have a talented company to pick from, and the leads here are largely brilliant. Ed Turner makes a likeable Mark, matched well with Tom Urch’s junkie rocker, putting a raw voice to good use. Dan Rowberry also does well as Collins, absolutely heartbreaking in his ‘I’ll Cover You (Reprise), and Mia Dobney gives confidence and some great vocals as Joanne. The standout performance goes to Charlotte Kennedy as Mimi, excelling as both the stripper driven by sexual confidence and the vulnerable woman falling in love under the shadow of AIDS. Kennedy sells both aspects brilliantly, but really comes into her own in the second act, delivering the quiet grace of “Without You” and the rest of Mimi’s journey with the skill of a seasoned professional performer.
That Jonathan Larson never got to see the impact ‘Rent’ would have on the world is one of the biggest tragedies within musical theatre, but seeing the show’s legacy enduring 30 years later is still a powerful and humbling experience. One of the most “human” musicals, totally character-driven and a celebration of diversity and equality, ‘Rent’ is essential viewing for any musical lover, and LAOS have done a great job with their production. Delivering the show’s grit and emotion with conviction, LAOS have a clear respect for the source material that shines through in their production. You only have 525,600 minutes this year, you’d be wise to spend 180 of them with this talented bunch.
‘Rent’ runs at Leicester Curve’s studio space until Saturday 8th June 2024.
Performance runtime 2 hours 40 minutes including interval
